Later this month, Netflix will release the first of Wes Anderson’s four Roald Dahl shorts, The Wonderful Story of Henry Sugar. Following the film’s world premiere at Venice, we’re now learning how Netflix plans to debut the entire anthology, and it’s not as one might expect.
In a new post on Netflix’s TUDUM site, it was revealed that Netflix will release each of Anderson’s four shorts as part of a four-night event beginning with The Wonderful Story of Henry Sugar on September 27th.
The remaining shorts are The Swan on September 28th, The Ratcatcher on September 29th, and Poison on September 30th.
Ralph Fiennes, Rupert Friend, Benedict Cumberbatch, Dev Patel, Richard Ayoade, and Ben Kingsley will star in each of the films playing multiple characters, in true Wes Anderson fashion.
“I like the idea, right off the bat, of having a little company play the whole film,” Anderson said. “They took it and did it. You hand it to them, and then you step back and watch.”
Here’s a breakdown of each film below.
“The Wonderful Story of Henry Sugar”
Logline: A beloved Roald Dahl short story about a rich man who learns about a guru who can see without using his eyes and then sets out to master the skill in order to cheat at gambling.
Cast: Ralph Fiennes (Roald Dahl, Policeman), Benedict Cumberbatch (Henry Sugar, Max Engelman), Dev Patel (Dr. Chatterjee, John Winston), Ben Kingsley (Imdad Khan, Croupier), Richard Ayoade (Dr. Marshall, Yogi)
Runtime: 39 minutes
“The Swan”
Logline: A young adult Roald Dahl short story about a small/brilliant boy ruthlessly pursued by two large/idiotic bullies.
Cast: Rupert Friend (Narrator), Ralph Fiennes (Roald Dahl), Asa Jennings (Peter Watson)
Runtime: 17 minutes
“The Ratcatcher”
Logline: A lesser-known Roald Dahl short story about a professional rodent exterminator.
Cast: Richard Ayoade (Editor/Reporter), Ralph Fiennes (Rat Man), Rupert Friend (Claud)
Runtime: 17 minutes
“Poison”
Logline: A well-known Roald Dahl short story about a man who discovers a poisonous snake asleep in his bed.
Cast: Dev Patel (Woods), Benedict Cumberbatch (Harry), Ralph Fiennes (Roald Dahl), Ben Kingsley (Dr. Ganderbai)
Runtime: 17 minutes










Heather’s father Henry (Stephen McHattie) is as caring and compassionate as ever. He is the glue holding the family together. Heather’s mother Patti (Hedi von Palleske) has not fared as well. She has slipped into alcoholism and Heather finds herself taking care of her mother more than the other way around. Heather’s two baby brothers Cooper (Charles Halpenny) and Hardy (Harrison Halpenny) share a passion for hockey and the siblings bond over it.
At the rink is where Heather meets Jonny (Amandla Stenberg). Jonny is a figure skater trapped in an abusive relationship. Jonny and Heather instantly gravitate towards each other as they find comfort in one another. As their relationship progresses, external and internal pressures mount. Relationships are difficult to manage without the looming worry of having to tell you partner you’re a werewolf. One second Heather has it all, and in the blink of an eye – nothing. She isn’t one to give up without a fight though.
Jacqueline Castel directed My Animal while Jae Matthews wrote the script. The film is the feature length debut for both Castel and Matthews, and an impressive debut at that. Many films have taken a stab at the werewolf story, but My Animal explores it from a distinct perspective. Castel and Matthews approach the tale through the lens of family and growth. How this type of ailment would affect a teenager struggling to fit in. What it would do to their family as well. The level of responsibility thrust upon a teenager in those rebellious years where kids just want to have fun is almost unfathomable. Heather didn’t choose this, but she must live with it. This powerful dynamic is rarely explored with films in this genre and My Animal provides a refreshing take.
Every detail throughout My Animal seemed to flow together cohesively. Castel’s use of lighting and shots tell a story in and of itself. Isolating images, erratic angles, disjointed shots – all mirroring the unease within the characters. Castel cleverly employs these elements along with distorted light and sound to show Heather’s transformation. We don’t need to see it happen to experience it. It’s okay to leave things to the imagination and Castel and Matthews excel at that aspect.
Menuez and Stenberg deliver strong performances and perfectly capture that teenage angst. Even during the highest of highs, there always seems to be a level of emptiness and sadness.